Exercise: A Figure in an Interior
…Another approach would be to work from a photograph which you can then locate in an interior that you’ve imagined or that you can paint from real life. You could paint a very interesting painting by depicting a stranger or a celebrity in your own living room… Skin tones reflect surrounding colour and shades… How will you locate your figure in the space? How can you suggest depth?
My initial thoughts as noted in my sketchbook were to portray the Queen doing the washing up in my kitchen, Marigolds and all, but decided against this. Another scenario sprang to mind, maybe she could be sat in our lounge in a fluffy dressing gown and slippers reading the papers, as if on a lazy Sunday morning? It then struck me, that she is never really off duty, so I thought I’d replace the papers with a lap top as if catching up on official correspondence in the modern age – after all, one is never away from the office with the internet nowadays, is one?
To achieve a rough composition for the painting, I found a pink fluffy dressing gown and tried out several poses that my husband photographed for me. I am a similar height to the Queen so this would also help with proportions whilst sitting. From these photos I chose a couple to sketch out as trial compositions, altering them slightly to make more sense for my imagined image.
The first sketch, I thought, was less interesting and the background was not complete enough to give a coherent image. I preferred the second drawing as it seemed right in its situation. The head position was changed from the photograph to look to the figure’s left and at the lap top screen.
Next I had to find suitable images of the Queen in order to make the pose believable and in proportion. This proved harder than I thought, because of the thousands of photographs and images out there, they all seemed to be looking left of centre or were straight profiles. I wanted one of the Queen wearing her glasses as she uses them for reading, and of her wearing a tiara. I had to settle with a compromise, of the two sketches I made of her head, one was looking the wrong way but had glasses and the tiara and the other was looking the right way without the accessories.
I found the almost full face image more difficult to obtain a likeness, although it was useful for the glasses. The 3/4 to almost profile was easier, however, it was more severe an expression than I wanted. Many of the photographs I studied, and there were a lot, showed the Queen to have quite a mischievous smile and that would have been nice to use. However, in reality, if someone is reading, they will usually have an expression of concentration, which is what I went for in the end.
I then made a tonal sketch from the photograph, as parts of it were over exposed and therefore, lacking in information to paint from directly.
I actually remembered to take photographs of work in progress (see gallery).
The final painting when photographed, is a little harsher in colour than in life. Some aspects I added are: enhancing lights and darks; adding red, white and blue pyjamas for more colour; a vase of flowers on the window sill – this added more interest on the right hand side of the canvas and lifted the whole painting; the tiara and reading glasses. There was a sense of the head being “stuck on”, this I rectified by lightening the neck and giving a cohesive look to the figure as a whole. The lighting in this room is complex, with slightly off-set opposing windows, however, as it was morning, the window behind the figure let in the most light and the other, a more subdued light. I did find myself giggling whilst doing this and at the same time, hoping that they don’t still throw people in the tower for treason! On the plus side, I think I achieved my aim and although much more complicated that I had envisaged, was very enjoyable. This is the first time I can remember, where I have used such a multitude of reference material plus imaginary aspects – great fun.